2001

"Leaking" Plays

The Shakespeare Conference: SHK 12.0228  Wednesday, 31 January 2001

From:           Annalisa Castaldo <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jan 2001 09:18:06 -0500
Subject:        "Leaking" Plays

A student suggested that rather than post-performance reconstruction,
bad quartos might be the equivalent of leaks today - that drafts of a
play might have been sneaked to a printer before it was even done, let
alone staged. Does anyone know of any evidence about this, either for or
against?

Annalisa Castaldo

MND Tools for 8th-graders

The Shakespeare Conference: SHK 12.0227  Wednesday, 31 January 2001

From:           Frank Whigham <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jan 2001 06:23:20 -0600
Subject:        MND Tools for 8th-graders

Here is a request for help from a former student of mine. Thanks in
advance.

Frank Whigham

=====

> I am a first year teacher who will be teaching A Midsummer Night's Dream
> to my pre-AP 8th grade English classes. In an effort to keep my students
> interested in the play, I am planning on including songs and film clips
> that either allude to Shakespearean works (any of his plays) or that are
> adaptations of his works.  The only film clips I am allowed to show must
> have a G or a PG rating.  Although I have consulted several teaching
> resources and online sites, I have had little luck finding sources that
> meet my requirements.  Does anyone have any suggestions?
> Thank you.
>
> Jennifer Moore

[Please reply offlist: This email address is being protected from spambots. You need JavaScript enabled to view it..]

Re: Rosalind

The Shakespeare Conference: SHK 12.0225  Wednesday, 31 January 2001

[1]     From:   John Marwick <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 31 Jan 2001 23:44:45 +1300
        Subj:   When might Orlando 'catch on' about Ganymede?

[2]     From:   Judy Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 31 Jan 2001 10:25:27 -0400 (AST)
        Subj:   Rosalind and Ariadne


[1]-----------------------------------------------------------------
From:           John Marwick <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jan 2001 23:44:45 +1300
Subject:        When might Orlando 'catch on' about Ganymede?

Some wonderful replies to previous posting about Celia's motivation and
the relationship with Rosalind.

Now that we have started rehearsals we have worked a little on the early
scenes and find no need to 'queer the relationship' as Arthur Lindley so
delicately puts it.  However, it is good to have our Celia thinking
carefully about what is going on for her - there are endless occasions
for eloquent if silent exchanges between Ros and Celia during the Forest
scenes with Ganymede and Orlando - but we need to be clear what the
relationship is and what Celia makes of it all.

We plan to go ahead with the idea of Orlando becoming aware of who
Ganymede is - but of course not 'letting on,'  It feels that this could
give another dimension to the relationship and add to Orlando's
character without detracting at all from Ros.  I was interested that
Evelyn Gajowki's students thought this happens in the BBC video - I must
get it out to watch.  I have recently come across a footnote in the
introduction to the Oxford Shakespeares version (by Alan Brissenden)
which says:

"In the 1961 American Shakespeare Festival prodcution (Conneticut, dir.
Word Baker) Orlando realizes 'Rosalind' was Rosalind when he took her
hand at this point [IV:1.116 - the mock marriage]; he let the audience
know he knew, but kept it from Rosalind until his reply to her line 'Why
do you speak too, "Why blame you me to love you?"' (V:2.101-2). The play
apparently survied this unusual interpretation."

Does anyone have any knowledge of this production? Couldn't find
anything on the Web so far.

We haven't yet got to this scene - but will next week.  I am inclined to
have Orlando know earlier in the scene.  Maybe even have him overhear
Ros and Celia talking about his being late. That way the scene will not
have any of the awkwardness of Orlando ?wanting to kiss a male Ganymede
- but will instead have a different set of twists for the audience who
knows he knows - and for Rosalind who probably starts to wonder if he
knows - but still carries on.

Has anyone got any other ideas of how to play it in this way - which
lines will take on interesting double meanings or where will I lose
things? It's not that I don't accept that the conventional disguise can
be totally effective if we want it to be - just that I'm interested to
pursue the delights of 'he knows that she knows, and she probably knows
that he knows' - but so long as neither one admits it to the other they
can still carry on having fun.

I expect we will also include the idea of Oliver catching on - that fits
very nicely in to the text at the end of IV:3 - and if Oliver 'twigs'
then surely it's reasonable that Orlando does too.

[2]-------------------------------------------------------------
From:           Judy Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jan 2001 10:25:27 -0400 (AST)
Subject:        Rosalind and Ariadne

Belatedly, following the comments on Rosalind's possible response to
Orlando's wrestling prowess, I was struck by the passage in North's
Plutarch describing Ariadne's reaction to Theseus (in the version of the
legend where the antagonist is a man called Taurus rather than a
minotaur):

"And being a solemn custom in Creta, that the women should be present,
to see those open sports and fights, Ariadne being at these games,
amongst the rest, fell further in love with Theseus, seeing him so
goodly a person, so strong, and so invincible in wrestling, that he far
exceeded all that wrestled there that day.  King Minos was so glad that
he had taken away the honour from captain Taurus, that he sent him home
frank and free into his country,...."

Judy Kennedy
This email address is being protected from spambots. You need JavaScript enabled to view it.

Re: Rhetorical Question

The Shakespeare Conference: SHK 12.0226  Wednesday, 31 January 2001

From:           Brian Vickers <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jan 2001 11:47:00 +0100
Subject: Rhetorical Question
Comment:        SHK 12.0211 Rhetorical Question

The difficulty that discussants have had locating the appropriate figure
should have alerted them to the fact that phrases such as 'words of woe'
and 'kingdom of glory' are not rhetorical figures at all but
straightforward grammatical constructions. They are either the normal
genitive (expressing an appurtenance of a thing or quality to a person,
for instance), or what linguists call a 'partitive genitive', where the
first noun expresses the relationship of part to whole, having the
essential form 'X of Y'. See Sylvia Chalker and Edmund Weiner (eds.),
The Oxford Dictionary of English Grammar (Oxford, 1994), pp. 283-4, also
R. Quirk, S. Greenbaum, G. Leech, and J. Svartvik, A Grammar of
Contemporary English (London, 1972), pp.  131-3, 192, 885-9.

Brian Vickers

To Bill or not to Bill

The Shakespeare Conference: SHK 12.0224  Wednesday, 31 January 2001

From:           Kevin De Ornellas <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 30 Jan 2001 21:18:31 -0000
Subject:        To Bill or not to Bill

The plot of tonight's (Tuesday, January 30) episode of telly Copper
show, The Bill (www.thebill.com) revolved around Hamlet's 'To be or not
to be' speech.  A precocious, Shakespeare-loving child was rescued from
a river.  It was believed that a local thug who had been bullying her
was responsible.  But a conscientious Sergeant searched the girl's shed,
finding that she had transcribed the 'To be' speech.  This encouraged
suspicions that the child had been contemplating suicide.  The child had
indeed thrown herself into the river, although it was the mental
torturing of the bully that had sent her over the edge.

Kevin De Ornellas
Queen's University, Belfast

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